astralitic | My Site 1

The main inspiration for the design comes from ripples,

the sound of musical instruments, and the texture of water

resonance. I am trying to integrate these three elements into

my design.

The Astralitcs is a unique race that originates from my imagination. They live in other galaxies beyond Earth. In this distinctive world, they highly depend on light and water to sustain their production activities. However, water is an extremely scarce precious resource. The existing water resources could not directly meet their needs, thus requiring extraction and meticulous processing for usage.The atmospheric conditions faced by this race are extraordinarily harsh, to the extent that only the lowest strata of the populace would dare to work outdoors. In this world, they have to endure not only the severe natural environment but also a strict religious control. Water holds a supreme status in their beliefs, seen as an indispensable sacred element in all religious ceremonies.In this world of The Astralitcs, filled with mystery and challenges, the entanglement and collision between faith, power, resources, and survival create an intriguing tapestry.

RIPPLES

SOUND

RESONANCE

Location1-Outside The Temple

Outside The Temple This is the main architectural area, surrounded by terraced terrain that encircles the main building. These terrains harbor abundant water resources, but they contain strong acidic substances and cannot be used directly. They need to be treated before being transported into the main building for storage. Meanwhile, the petrified materials also contain precious raw materials that can be used to make perfume powder, architectural surface decorations, and fabric dyes, constituting an important economic resource for this race. Only the lower-class laborers are able to perform these tasks in such harsh environments...

All ideas stem from some initial rough thoughts. The frst question I hope to address in this worldview is: what kind of terrain

does this world have? Consequently, I made numerous attempts, such as placing the world between mountain peaks or

within crevices, or even deep underground. After determining the geographical environment, I explored various atmospheric

conditions, and ultimately settled on the outdoor ambiance displayed on the previous page

The main temple is embedded in bowl-shaped terrains of varying sizes. I've

geometrically processed the terrain, hoping that it has more recognizability for

the players. The stones here are formed from salt stones, with highly acidic

water in the middle. Occasionally, there are acid stones with a metallic surface

interspersed between the terrains, which can be mined and refined into

powder. This powder can be used for the surface coating of clothing, buildings,

weapons, etc.

I aim to highlight the oppressive nature of the religion

here through the contrast between the internal and

external environments. The conditions for the lower-class

laborers outside the temple are harsh, while the interior

provides a safe and comfortable environment for the

priests and other religious ofcials

Location2-Main Entrance

The main entrance of the temple is presented here. It seems that a higher civilization had once visited the Astralitics, causing them to become the objects of worship for the current clan members. The mechanism to open the temple's door was also designed by this higher civilization. The mottled light and shadow seem to hint that the door is hidden underwater, and the totem symbols that the Astralitics believes in are placed above it. At the same time, these symbols are the key to unlocking the mystery of the door. Only the high-ranking priests possess the unique ability to open this door. The specifc design details will be shown in the subsequent props design page.

For the design of the main entrance, I tried many options in the early stages, including different design languages, compositions, and lighting. Finally, I decided on the Brutalism architectural design language. The reason for this is that this type of architecture can better convey the oppressive feel of the religion, as well as a sense of ancient futurism and mystery

After finalizing the design of the main entrance, I experimented with spatial typology - arranging different space sequences to create varied psychological impacts as players approach key areas. Think of it like architectural storytelling through section design: controlling ceiling heights, sightlines, and spatial compression/expansion to choreograph emotional rhythms along the path.

SPACE TYPOLOGIES OF APPROACHING THE ENTRANCE

TYPE A

space1 overview

interior main section

This spatial design compresses the player's vision centrally, heightening tension and visual focus. Upon exiting the staircase, the view dramatically expands into openness, contrasting sharply with the earlier confinement. The ascending path simultaneously evokes a heightened sense of sacredness.

view from the VP

TYPE B

space2 overview

interior main section

This sectional spatial design horizontally compresses the player's field of view to induce a sense of calm, yet when the player exits the interior space and reaches the water's edge, the environment simultaneously expands, creating a juxtaposition of spatial scales through this volumetric contrast.

view from the VP

TYPE C

space3 overview

interior main section

This fluid sectional design guides players from the second-floor corridor through framed views, building anticipation before dramatically expanding at the destination zone.

interior main section zoom in

VP3

VP4

VP2

VP1

1st floor plan

10m

20m

VP5

VP6

ground floor plan

VP1-The rhythmic clerestory fenestration channels natural light while creating patterned illumination that guides players toward distant luminous transitional zones.

VP2-Partial fenestration along the corridor's axial terminus activates peripheral vision cognition, where the calibrated reveal of linear glazing system implies spatial continuum beyond, triggering environmental curiosity through progressive discovery mechanics

VP3-Upon reaching the corridor's terminus, a horizontal fenestration strategically frames a partial reveal of exterior vistas, evoking exploratory curiosity that compels movement toward the glimpsed exterior realm.

VP4-Upon axial reorientation, a retrospective stairway emerges, its treads animated by subterranean luminance gradients that compel vertical descent through phototropic navigation.

VP5-Post-descent spatial sequencing reveals a threshold aperture, where aquatic luminosity emerges as the primary visual anchor through dynamic caustics projection.

VP6-The final approach actuates a cinematic reveal - threshold proximity dissolves spatial occlusion, unfolding exterior volumetrics in full panoramic juxtaposition against prior compressed interiors.

MAIN DOORS DESIGN EXPLORATION

PLAN A

Under normal circumstances, the main entrance door would be concealed behind the water fow.

The bowls can move along the slide rails.

By moving up and down, and turning left and right to operate these mechanisms, you can control the direction of the bowls' movement

Players need to manipulate the mechanism in front of the door to move the six bowls embedded in the wall along the slide rails. Only when they reach the top will the water fow be blocked by the bowls, at which point the mechanism will fully appear in front of the player. Since there are various recesses along the slide rail path, which obstruct the movement of the bowls, players need to fnd the correct path to move the bowls to the top, similar to a maze design

PLAN B

PLAN C

This is another design for the door, where the metal blocks at the bottom are designed with different lengths, so they will produce diferent pitches when struck. The player needs to stand on the platform in the middle of the water and control the metal blocks on the wall through a special ability, striking the bottom to play a specifc melody. When the melody is played correctly, the door will open naturally

The metal pieces on the wall can slide downwards,colliding with the bottom to produce sound.

When a specifc melody is played, the mechanism in the middle of the door will rotate and open.

The slider can move up and down, and when it touches the corresponding metal protrusion,the corresponding bowl will rotate

The bowl can rotate around its axis.

Each bowl has a notch on it,

allowing water to fow through.

The heavy object above will fall and hit the door frame, opening it to both sides.

The third door design involves each bowl at the top being able to rotate around its axis, corresponding to

diferent pipes below. Water will fall from diferent heights from the bowls above into the hollow pipes below,

producing diferent pitches. Similarly, when a specifc melody is played, the door will open

After determining the composition and architectural design language of the main entrance, I attempted various door design options,including different shapes and opening methods, but the core element of each design involved water. I aimed to explore more possibilities, and some plans also incorporated sound elements, hoping to enhance the interactivity for players when operating the mechanisms. In the end, I chose the design on the left as the fnal solution for this place.

Location3-The Main Hall

This is a mysterious sacrifcial main hall. During each sacrifce, the priests would refne the selected people through a ritual into an essence called "golden sand." However, as the environment deteriorated, the "holy water" here began to become turbid. In order to maintain its clarity, the priests sprinkled the golden sand refined from people into the holy water.The surrounding pillars are like charms, suppressing the spirits here who were once the sacrifced people, and their souls wander around. Mysterious runes are engraved on the pillars, emitting power andprotecting the temple and holy water.This holy water is extraordinary, containing powerful life force and mysterious power.

After conceiving the function and story of this place, I tried many diferent directions for the main hall design, including various spatial feelings, lighting,and architectural forms. In the end, in order to better present the concept of "holy water," I chose the composition on the left. However, the fnal completed image was still adjusted based on the B&W paintings. I added the element of the "spirit-suppressing pillar" and also adjusted the direction of the lighting. It

was this sketch that played a crucial role in the fnal product. I like to add new ideas at various stages in the creative process, which is why my works seem to have some changes at each stage

The positions of the three holes correspond to the three sounding tubes below. When the water drops fall into them, they will produce sounds of different pitches accordingly.

The iron ball can slide along the surface tracks, which also serve as the path for the water drops to fow. Players need to control the iron ball to arrive at the correct hole in time, building the right path for the water drops to follow and eventually drip into the sounding tubes below

This is the initial design proposal for the Holy Water Column, where players can control the sliding of the iron ball on the top of the column to guide it to the correct hole. This will allow the water drops to flow smoothly through the column and eventually reach the bottom cavity. The water drops will then drip into the three sounding tubes designed directly below. At that moment, the iron ball in the middle will open, and the holy water will be absorbed into it

Water droplets falling at various frequencies will hit these utensils, with the sound being transmitted into the wall from the back.

The sound will create different patterns on the water surface, and these patterns can represent different pieces of information.

These water patterns can be transmitted in all directions along the water channels

This is a design showcasing a sound transmission device. Water drops fall from above and strike the metal utensils arranged at the rear, generating sounds. The sound then enters the Sound Amplification Wall from behind, gets amplified, and is transmitted out from the front. At the same time, the sound waves hit the water surface below, creating ripples with corresponding different information that spread in all directions, serving the purpose of long-distance information transmission

Location4-The Corridor

After designing the previous scenes, I aim to create some slightly more confined spaces to offer players a contrasting spatial experience throughout their journey. The ground is littered with neck shackles used for imprisoning slaves, producing a piercing noise as players walk by and the metal collides. Bas-reliefs of ancient civilizations adorn the walls on either side. Simultaneously, a metal sphere is embedded in the wall, giving the impression that rotating it may trigger a central mechanism. The mechanism's intense refective texture suggests a potential connection with the sunlight.

For this narrow space, I've explored various options, including diferent height-to-width ratios, lighting directions, compositions, and more. I even contemplated whether players should access the area by boat. However, in the end, I selected this specifc design as the basis for more in-depth development. Of course, during the 3D creation process, I may introduce new ideas at any time, so the fnal presentation may have some diferences compared to the black and white sketch.

This is the original design of the corridor-opening mechanism. Players will observe a perpetually rotating sphere at the end of the hallway, washed and spun by water, with a copper mirror embedded in it. Players must operate the slider on the statue to move it up or down, rotating the iron ball to a particular position, reflecting sunlight onto the hidden door. Only after this will the door open automatically.However, upon completing the concept painting, I conceived a better idea for the form of the mechanism. Consequently, I made a slight alteration to the design of the shape, but the principle of activation remained the same.

What is shown here are two designs for the engraved walls on both sides of the corridor. I don't want all designs to have practical functions. I believe that some items in the scene can serve as decorations, thereby creating a better cultural atmosphere in the space for the players.

Location5-The Secret Room

After passing through the corridor, players will arrive at this secret room, which is a place where the priests perform their rituals. During the ceremonies, they wear purple robes and dance in a circle, performing a mysterious dance as if praying for something. When creating this painting, in order to emphasize the sense of secrecy in the space, I deliberately designed the location in a natural cave-like setting, distinguishing it from other areas with a more artifcial feel. This way, players can immediately sense the uniqueness of this place compared to other locations.

What is shown here are the diferent early explorations in black-and-white sketches of the secret room. The final painting is based on the refined version on the left uper one. I've kept the radial design, the arrangement of the surrounding statues, and the water channels on the ground, but as you can see, I've also added many new ideas in final render.

The column will rotate at a steady pace, and the iron balls on it will regularly block the water fowing from the holes.

When water flows through pipes of different lengths, it will produce sounds of diferent pitches.

This wall design draws inspiration from the principles of gramophones and music boxes. Different raised iron balls are embedded on the column, which will regularly block the small holes on the wall as the column rotates. Water will continuously fow through these holes and, when passing through the sounding tubes with varying heights below, it will produce diferent pitches. Thus, with the regular rotation of the column, the sounding tubes will emit a specifc melody. Perhaps the ancient civilization recorded some secrets on the stone pillars in this way.

This design is inspired by the traditional Chinese musical instrument "Bianzhong." It
produces sounds of diferent pitches by having water falling from a height strike the
drum surface.

The design of this wall is inspired by the arrangement of piano keys. The balls embedded in the grooves can roll in different directions, producing deep bass sounds. The iron bowls standing between the balls contain water at different heights, and different pitches can be produced by striking them. In this way, a monk can stand in front of each iron ball, and a specific melody can be played through the simultaneous operation of multiple people.

Iron balls can emit bass melodies of different tunes by rotating along diferent trajectories

The sound will be emitted from the holes above.

This door is usually closed. When a player approaches, it will rotate to open the middle cover, prompting the player to interact. The player needs to slide the panels of the four-sided statue to control the vibration frequency of the iron ball at the bottom. When a specifc frequency is reached, special ripples pattern will form on the water surface. The player then controls the submerged mirror to refect sunlight and project the pattern onto the door. Once the pattern aligns with the door, it will automatically open.

The door is closed and the pattern is hidden.

The iron ball strikes the water surface, creating ripples

Player can control the mirror to reflect sunlight onto the corresponding pattern on the door.

Once the gold metal receives the lights the door will open.

The sound production principle of a guitar inspired the design of this indoor wall. Water droplets are squeezed out from the eyeglass-like structure above, following the trend and fnally falling under the infuence of gravity onto the metal rod. Water droplets falling on diferent parts of the metal rod will produce diferent tones when they strike it.

This is a timing device similar to a pendulum clock. Water flows from above into the bowl at a constant speed. Inside, there is a funnel under the bowl connected to a balance scale at both ends. In the center of the scale, there is a small metal baffle. When the right side fills with water, the scale tilts to the right, pouring out the water. At this moment, the bafe will expose the left side, allowing water to fow into the left side of the scale, repeating the swinging motion. This creates a back-and-forth swinging timing function.

This is a niche for monks to meditate. Monks sit cross-
legged on it, and water droplets fall directly above their heads, continuously hitting the monks' heads. It forces them to reach a state of inner peace under a kind of torture.

The design of this wall is inspired by a metal device for children to play with in parks. Water droplets will fall from the bowl in the hands of the statue above and strike the metal device below of varying sizes, producing sounds of diferent pitches. Falling at a certain frequency, it will make a regular "tick-tock" sound.

This wall design stands on the water surface without any specifc interactive features. Water fows from the holes at the top and runs down the patterns on the wall to the indentations at the bottom, then drips into the sound tubes below. Due to the randomness of the water droplet movement, the path taken each time is diferent, so the sounds emitted will vary from moment to moment.

This is a miniature device akin to divination. Each time a divination occurs, a drop of water is released from the top groove. The water droplet then randomly fows along the pattern into any one of the six holes, subsequently falling onto the internal astrolabe. The astrolabe has an incredibly sensitive reaction to weight changes. The section of the astrolabe where the water droplet lands will concave, causing the corresponding trigram hanging above to fall, thus revealing the content of the divination.